1 – b: Being able to appreciate the ART that resides in something like the Bible, yet not aligning with it ideologically, is a very refined skill. Would you say that metal music thrives on the ability of both artists and fans to both appreciate and learn from very different sources and incorporating them into their own system art without being dogmatic about it?
I think some of the best metal requires a suspension of your disbelief in one way or another. In my opinion, art should be allowed to challenge perception, otherwise it will become sterilized and devoid of merit. Also, asking yourself why you feel a certain way about something is crucial to growth.
What good comes from a life of confirmation bias?
1 – c: Would you say that spending time in a foreign culture, in a place where a different language is primarily spoken, also allowed you to deepen your experience as an outsider, an experience already so part and parcel of listening to extreme heavy metal?
I definitely grew up feeling like an outsider due to my religion and, as you mentioned, spending my teenage years immersed in a foreign culture. I think that’s part of why I always found myself latching onto heavier music; it either felt like an escape or I felt related to, both of which I deeply wanted more of. I found later on that for me, extreme metal is the most potent way to tap into that.
2 – b: Those of us who grew up in fanatical religious environment, tend to have a more serious close-up experience with intense states of emotions that those who have never believed seem to not really grasp. Do you think this memory and ability to put oneself into states of intense hyperreality, so to call it, makes us capable of delving deeper into the music, connecting with it mentally and organically in ways that perhaps a guarded cynic does not allow himself or herself to do?
Not necessarily, I think anyone is capable of connecting with music in the same way. Art makes us feel things we’ve already felt, albeit sometimes in new ways or to heightened degrees. At its core are relatable emotions that we’ve all felt in one way or another.
3 – b: You describe absorbing the music, letting it come to you, waiting for the feelings to well up, which then causes you to see images, hear sounds, perhaps, that you then take and use. Also, you will accumulate observations on the music specifically. Not only is this a very efficient method anyone reading could use themselves, but it also denotes authenticity in you as a reviewer. Do you find yourself needing to be in certain pre-conditioned states before connecting to different kinds of music? Even, different metal bands that communicate very different emotions through their music?
For sure – there is music I won’t even be able to absorb when I’m not pre-conditioned for it. Depending on your mindset, for example, Teitanblood can be a dense wall of noise or a blitzkrieg of intricate layers and riffs.
It’s been a challenge for me when I go to review something that doesn’t quite fit what I was gravitating towards at that time. I just kind of have to ease myself into it with some transitional albums. But once I get there and headphones are in, I’m usually good to go. This might get easier with more experience.
3 – c: In your own view, would you rather focus solely on reviewing those albums that impact you, or do you think there is a place for, if not ‘negative criticism’, perhaps constructive criticism of what you may perceive as less than fulfilling musical offerings?
I absolutely think there’s place for it, and maybe with some more time I’ll get around to a critical review. But for now, I really enjoying writing like a fan, especially since I’m still just getting started. I’ll offer critique if I have it, but ultimately, I get the most fulfillment out of sharing what connects with me. It’s the only reason I do it, really.
4 – b: The question of the primitive element in metal is vital, I feel. I wonder if it is the fountain of all art. Metal seems to make it explicit. Is there any through-line you can see in metal artists or albums that really connect with the ‘primitive side’ of us really well? Do you think there is a reason why they may lose it as they become more prominent and successful? How could an artist theoretically maintain a connection with it? Does any such artist come to mind?
You can feel the sincerity in the approach; It’s not made with consideration for mass appeal. The primitive element is genuine expression and likeminded people just naturally connect with it.
I imagine tapping into that authenticity becomes much more difficult if commercial success is your primary goal, so staying connected to the underground is a must. As if there’s not enough reasons to love the actual necromancer Fenriz, he’s also the perfect example of an artist who stays tapped in. He used to have his “Band of the Week” segment that gave a spotlight to new bands that excited him, keeping his own spirit alive.
5 – b: Do you think there is actually a conflicting tendency between mass approval of a band or release, even within the metal community, and what satisfies someone looking for authenticity, connection to the primal, and all-around darkness? Does it take more energy to understand the deeper end? Does it take a particular kind of life experience? (I realize I am asking you to speculate, do explore this question in whatever way you feel most comfortable)
The dichotomy with art is that as much as it’s meant to be a soulful expression, it holds more power when it has an impact on someone. Metal musicians, like all artists, are acting on an innate desire to leave a mark, so there will always be some degree of wanting your art to be interacted with. It’s about not sterilizing your vision in spite of that.
I’m not sure a particular kind of life experience is necessary to connect with darkness. But a through-line I’ve noticed is we tend to live with a higher sense of individuality. Living for myself has been the greatest gift I’ve given myself, and metal celebrates that with me.
